Arianne Gelardin Landscape Architecture
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin.tumblr.com / / \\\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Arianne Gelardin Education
Professional
Rhode Island School of Design Master of Landscape Architecture. 2011 Providence, RI
Rebar Group Designer + Marketing Associate; Davis Parklet; OPENkitch’n (ArtPlace DC); Design Renegade; Press outreach; Grant and proposal writing; Graphic design. 2011-2012, San Francisco, CA
Eugene Lang College The New School University Bachelor of Arts in Curatorial Studies; Minor in Painting and Drawing; Dean’s List. 1999-2003 New York, NY
Honors Graduate Studies Grant Recipient Rhode Island School of Design $5000 award for the project, DCUrbY, a place-based, designthinking afterschool program. 2011, Provicence, RI
San Francisco Arts Commission Graphic Design, Rendering, Writing, and Presentations for public art proposals: Clare Rojas and Sanaz Mazinani. Present, San Francisco, CA Design Consulting Independent Design Consultant for commercial and residential clients; Architect coordination; Furniture resourcing; Plant selection; Storefront installation and lighting. 2011-Present, San Francisco, CA RGB11 Exhibition Catalog Rhode Island School of Design Chief Editor of the graduate exhibiiton catalog; Press check; Schedule + budget; Writing workshops; Editing; Design charrettes; General production. 2011, Providence, RI
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Teaching + Community Projects OPENkitch’n ArtPlace DC, Central 14th Street NW Corridor Project Manager at Rebar for OPENkitch’n, the Central 14th Street NW public art and culture crawl in collaboration with the DC Office of Planning, local business associations, and Independent Curator Justine Topfer. 2012, Washington, DC Colorado Plaza Mockup and Design Charrette 5 x 5, Public Art: It’s a Verb! ArtPlace DC, Central 14th Street NW Corridor Community facilitator (with Rebar) for community design charrette in collaboration with the DC Office of Planning, local business associations, and Independent Curator Justine Topfer. Small Area Plan award from the NCAC-APA. 2012, Washington, DC DCUrbY, West End Recreation Center (Design Collective of the Urban Youth) Developed the curriculum and taught an afterschool placemaking workshop to middle and elementary school children. 2011, Providence, RI
William Stout Publishers Copy Editor for architectural book publisher. 2007-2008, San Francisco, CA
Bucklin Park Earth Day Design Build Volunteered in the organization and production of the community event; Recruited designers, musicians, construction leaders, and landscape architects. 2011, Providence, RI
Urban Designer, Community Organizer, Teacher, Critic, Event Producer.
Darrin Haddad Photography Studio Manager + Producer; Set design; Schedule + budget; Communications. 2006-2007, New York, NY
Perkins School for the Blind Apprentice in the Department of Assistive Devices; Constructed a tactile wall for two students in the Deafblind Program. 2011, Watertown, MA
Writer, Editor, Researcher, Graphic Designer, Grant Writing, Marketing, Business Development.
Whitney Museum of American Art Researcher for the 2006 Whitney Biennial; Assistant to the Head of Publications + New Media; Apprentice in the Department of Conservation. 2004-2006, New York, NY
100 Words Workshop Rhode Island School of Design Co-instructor in writing workshop for the written master’s thesis book. 2011, Provicence, RI
Adobe CS; CAD; ArchGIS; Rhinoceros; 3D Studio Max, Sketchup.
Artists’ Space Curatorial Intern 2003-2007, New York, NY
Writing Tutor Rhode Island School of Design Advised and tutored thesis students, as well as ESL students at RISD’s Writing Center. 2009-2010, Providence, RI
Selected Skills
Arianne Gelardin References Matthew Passmore Partner Rebar Group matt@rebargroup.com
415 400 5362 Justine Topfer Project Manager San Francisco Arts Commission justine.topfer@sfgov.org
415 252 2551 Brian Goldberg Dean of Graduate Studies + Professor Dept. of Architecture Rhode Island School of Design bgoldber@risd.edu 401 454 6131 Lindsay Kinkade Founder, Little Giant Co-Founder, Assembly Required lindsaykinkade@gmail.com
401 230 2827
Presentations + Panels
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Exhibitions
Presenter San Francisco Arts Commission Clare Rojas: Central Subway Chinatown Proposal. Winning entry. 2013, San Francisco, CA
Poetics of Aging Conference + Exhibition Curator Selected artists and designers whose works address aging and disabilities. 2011, San Francisco, CA
Presenter Phoenix Urban Research Lab Bike Odyssey: Urban Design, Graphics & Community Organizing 2011, Phoenix, AZ
Graduate Thesis Exhibition Rhode Island School of Design Co-curated the Department of Landscape Architecture’s Graduate Thesis Exhibition
Visiting Critic Rhode Island School of Design For Anastasia Congdon’s Design Principles foundation course. 2011, Providence, RI
To Write This Work Sol Koffler Gallery Rhode Island School of Design Assisted in the curation of the exhibition; Co-taught writing workshops. 2010, Providence, RI
Presenter, RISD Graduate Studies Forum on Research and Creative Work Presented my grant-awarded project, DCUrbY to incoming graduate students. 2011, Providence, RI
8 x 10 About Glamour Participating artist in group exhibition. 2007, Brooklyn, NY
Presenter, West Broadway Neighborhood Association In collaboration with Groundwork Providence, our design team proposed a community garden to replace an underutilized parking lot in Providence’s West End. As a result of the proceeding dialogue, Groundwork received a $25,000 grant to construct the garden. 2011, Providence, RI
When Artists Say “We” Artists’ Space Participating artist in group exhibition, curated by Christian Rattemeyer. 2006, New York, NY Seven Layers of Hell The Brick Theater Co-curated group exhibition with Indpenedent Curator and Critic, Jesi Khadivi. 2003, Brooklyn, NY Anodyne Nikolai Fine Art Co-curated the group exhibition with Ian Cunningham. 2000, New York, NY
Publications + Editorial Work Detour 2012 Design Renegade with Rebar Curatorial Team Co-wrote the initial exhibition proposal with Independent Curator Justine Topfer; Researched and selected participating artists; Wrote and edited essays for the exhibition catalog and marketing material. 2012, Hong Kong Jesi Khadivi, Miguel Arzabe, Bundith Phunsombatlert Rui Sasaki + Lu Gao Editor for these international artists’ masters thesis publications, websites, and/or grant and residency proposals. 2011-Present, San Francisco, CA RGB11 Chief Editor for the RISD Graduate Exhibition Catalog; Featured 150+ artists and designers (the largest representation in the School’s publishing history). 2011, Providence, RI Design on the Edge: A Century of Teaching Architecture at the University of California, Berkeley; Saarinen’s Quest Copy Editor William Stout Publishers. 2007-2008, San Francisco, CA 2006 Whitney Biennial Catalogue; Remote Viewing: Invented Worlds in Recent Painting and Drawing; Ed Ruscha: Photography; Cotton Puff s, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha; 2004 Whitney Biennial Catalogue; Cy Twombly: Fifty Years of Works on Paper. Publications Assistant Whitney Museum of American Art. 2004–2006, New York
munity Engagement
7H?7DD; =;B7H:?D Arianne Gelardin :[i_]d ! H[i[WhY^ Design + Research
REG # 420
I^WZem8EN
Site Plan *
0’ 5’
Fabric Pattern
15’
N
30’
Materials
*
Shading / Cooling Top Lycra Mesh 1,650 yards in 2 selected colors
6 pm
6 am
Flexible Program *
PAINT Various colors of latex house paint Lasts 2-3 months
Marketplace
ShadowBOX is a design submitted in collaboration with designer Shannon Bronson for the Flint Flat Lots competition, funded by Flint Public Art Project. The design proposes to rethink conventional construction materials in order to demonstrate creative interim use, adding whimsy to what can be a challenging process of urban revitalization. Mesh fabric – which is used on building sites to catch debris – is attached in pieces to a pavilion made of steel scaffolding, creating shade for various activities 14’ and casting a streak of shadows across the lot throughout the day. 5’
mark Marketplace
tion Infrastructure
RRRRRRRRRRRRRRRR \\\\\\\\\\\\\\\\ R \R \R \R \R \R \ %% // Wh_Wdd[][bWhZ_d6]cW_b$Yec ariannegelardin@gmail.com % /% / RRRRRRRRRRR \\\\\\\\\\\ R \R \R \R \R \R \ %% // )*- +(, +'(, 347 526 5126 % /% / RRRRRRR \\\\\\\ R \R \R \R \R \R \
Event + Gathering Space
Projection Infrastructure
LIGHTING Caged construction bulbs
Flexible Stage + Seating Lounge
Precedents
Gabriele Falconi HARDWARE-SOFTCORE Pavilion at the Musical Zoo Festival, Brescia, Italy
Front
15’
5’
14’
ShadowBOX is at once a landmark that anchors program within the 7’ site, as well as a flexible piece of infrastructure that can accommodate The bays can house 30’ 5 many uses. market vendors, the interior cavity can host events, and15’the faces can be projected upon for movies, art, or corporate branding. ShadowBOX’s 5’ translucent nature enables it to 10’ become a centerpiece for major events as well as support smaller, more intimate gatherings within its cavity.
Upper Level x 84 Frames
Ground Leve Scaffold Walkthrough x 22 Frames
*Drawings produced by Shannon Bronson Christo THE GATES Fabric and steel
HWKN’s WENDY Installation for PS1’s Young
Arianne Gelardin 7H?7DD; =;B7H:?D
\\\\\\\\\\\\\\\\ R\ R\ R\ R\ R\ R\ RRRRRRRRRRRRRRRR // Wh_Wdd[][bWhZ_d6]cW_b$Yec ariannegelardin@gmail.com % / %/ %% \\\\\\\\\\\ R\ R\ R\ R\ R\ R\ RRRRRRRRRRR // )*- +(, +'(, 347 526 5126 % / %/ %% \\\\\\\ R\ R\ R\ R\ R\ R\ RRRRRRR
Design + Research :[i_]d ! H[i[WhY^ Materials Materials
Site Plan Materials Materials Site Plan Site Plan
14’
14’ 14’
14’
5’
5’
5’
15’
15’
5’
5’
Lycra Mesh Lycra1,650 Meshyards in 2 selected colors 1,650 yards in 2 selected colors
Fabric Pattern
Community Engagement
Materials *
PAINT PAINT Various colors of Various colors of latex house paint latex paint Lastshouse 2-3 months Lasts 2-3 months
LIGHTING PAINT LIGHTING PAINT Caged Various colors of 14’ Various colors 5’ latex 15’ of paint 5’ Caged construction house construction latex Lasts house2-3 paint bulbs months bulbs Lasts 2-3 months
Landmark Marketplace
Lycra Mesh 1,650 yards in 2 selected colors 5
*
30’
Landmark Marketplace
Precedents Precedents
LIGHTING LIGHTING Caged Caged construction construction bulbs bulbs
15’
5’ 10’
5’ 10’
Christo THE GATES Christo THEand GATES Fabric steel Fabric and steel
Flexible Program Flexible Program
Christo THE GATES Christo THEsteel GATES Fabric and Fabric and steel
Budget
Marketplace
HWKN’s WEN HWKN’s InstallationWEN for Seating Installation for + Lounge
HWKN’s WENDY HWKN’s WENDYfor PS1’s Young Architects Installation Installation for PS1’s Young Architects
ARTISTS’ FEE - $5,000 (or 20% of total budget)
Fabric Mesh lycra, zip ties $ 3,000
STRUCTURAL CONSULTANT - $ 1,000
Mural Acrylic paint, painting supplies for 30 community volunteers, refreshments $400
Scaffold 106 frame assemblies, dimensions variable 3 month rental (full / partial) donation* $ 5,000
REG # 420
Ground Level Ground Level Scaffold Scaffold Walkthrough Walkthrough x 22 Frames x 22 Frames
Stage
Flexible Program
Stage, Furniture + Fabric 4-Day Install / De-Install Fabrication Crew $765 Mural 2-Day Community Activity Volunteers Fabric 5-Day Install / De-Install Fabrication Crew $ 1,200
LABOR $ 4,465
Scaffold 2-Day Install / De-Install Scaffold Construction Crew Stage + Furniture 2,500 Plywood, paint, pressure-treated wood frame Event + Gathering$Space base $ 1,000
HWKN’s WENDY Marketplace Installation for PS1’s Young Architects Projection Infrastructure
Marketplace
EventBEATING + Gathering Space Janet Echelman EVERY SECOND Sculpture inspired by fishing nets
Numen NETZ33 Projection Infrastructure Stretched Mesh
Event + Gathering Space
Projection Infrastructure
Scaffold
g Architects
Seating + Lounge
Stage
I^WZem8EN cont’d Budget ARTISTS’ FEE - $5,000 (or 20% of total budget)
Fabric Mesh lycra, zip ties $ 3,000
STRUCTURAL CONSULTANT - $ 1,000
Mural Acrylic paint, painting supplies for 30 community volunteers, refreshments $400
Stage, Furniture + Fabric 4-Day Install / De-Install Fabrication Crew $765
Brightly colored mesh fabric is woven into the scaffolding to inspire a celebratory space for the community. The fabric pattern casts shadows that will become a vibrant street mural that traces the movement of
MATERIAL $ 9,400
Scaffold 106 frame assemblies, dimensions variable 3 month rental (full / partial) donation* $ 5,000
Stage + Furniture Plywood, paint, pressure-treated wood frame base $ 1,000
Two round-trip rental $ 2,000
CONTINGENCY
Total esti $ 24,490
Projection Infrastructure
Projection Infrastructure
h
TRAVEL, ROOM
Projection Infrastructure
Christo THE GATES Fabric and steel
Gabriele Falconi HARDWARE-SOFTCORE Pavilion at the Musical Zoo Festival, Brescia, Italy
el
G G S S W W x x
5’ 5’
15’
MATERIAL $ 9,400
Precedents Flexibility
15’ 15’
10’ 10’
Front Front
Upper Level Scaffold x 84 Frames
6 am Ground Level Scaffold Walkthrough 6 am x 22 Frames
10’
Front
Flexibility
Gabriele Falconi HARDWARE-SOFTCORE Gabriele HARDWARE-SOFTCORE Pavilion atFalconi the Musical Zoo Festival, Brescia, Italy Pavilion at the Musical Zoo Festival, Brescia, Italy 6 am
Gabriele Falconi HARDWARE-SOFTCORE 5’ Gabriele Falconi Pavilion at theHARDWARE-SOFTCORE Musical Zoo Festival, Brescia, Italy Pavilion at the Musical Zoo Festival, Brescia, Italy
LIGHTING Caged construction bulbs
30’
U U x x
Upper Level Scaffold Upper Level Scaffold x 84 Frames x 84 Frames
30’ 30’
Shading / Cooling Precedents Precedents Shading / Cooling
Landmark Marketplace 15’
PAINT Various colors of latex house paint Lasts 2-3 months
30’
Shading / Cooling
Front Front
7’ Top
5
14’ 14’
5’ 5’
7’ 5 5
Fabric Pattern Fabric Pattern 5
Community Engagement
14’
7’
Lycra TopMesh 1,650 yards in 2 selected colors Top 1,650 yards in 2 selected colors
15’ 15’
7’ 7’
Top Top
Lycra Mesh
Community Engagement
14’
14’ 5’
LABOR $ 4,465
Scaffold 2-Day Install / De-Install Scaffold Construction Crew $ 2,500
Janet Echelman EVERY BEATING SECOND Sculpture inspired by fishing nets
Numen NETZ33 Stretched Mesh
Mural 2-Day Community Activity Volunteers Fabric 5-Day Install / De-Install Fabrication Crew $ 1,200
TRAVEL, ROOM + BOARD - $ 2,000
the sun in a single day. The shadow shapes will be outlined in colorful chalk and then painted with the Total estimated help ofbudget community volunteers. This $ 24,490 participatory tracing is used as a way to inspire the community to think
Two round-trip plane tickets, 1 week hotel, car rental $ 2,000 CONTINGENCY 12% - $2,624
Ernesto Neto EDGES OF THE WORLD Colorful stretched-nylon environments
spatially and programmatically about permanent plans for the vacant lot and will also help delineate different areas for various activities and movement throughout the site.
Ernesto N Colorful str
Arianne Gelardin Design + Research
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Masters in Landscape Architecture Thesis I Sense Your Reality Fordham Station, in the Bronx, is a space where different cultural groups travel daily, often without any visual indication of the other’s existence. Commuter routes and cultural paths are defined by segregated elevations and engineered partitions. In a series of design vignettes, the project explores urban interventions that appropriate the sensory strengths of blindness. To bleed the sensory qualities of one distinct cultural zone into another is to allow one to partially embody another person’s experience. In this theoretical investigation, I was interested in how one can intuitively identify the presence of another human (as opposed to the inanimate) based on the perception of movement. Human frequencies of light and vibration: an interruption of shadow, a momentary shift in kinetic rhythm, a remastered auditory composition. My hope is that empathy for others can be roused from these phenomenological moments.
Arianne Gelardin
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Design + Research
Managua
Urban Systems Studio
Nicaragua Pan American Highway
Atlantic Ocean
Earth University Master Plan, Costa RIca In collaboration with the eco-business school, Earth University, I teamed up with RISD classmate Lauren Meena to design the masterplan for the university’s rural campus in Guanacaste, Costa Rica. We based our design on a ciriculum that coresponded to the region’s wet and dry seasons, incorporating design-build housing, ecological and agricultural systems research, and canal-irrigated rice farming.
Liberia
San Jose
Pacific Ocean Panama
20mi 50 km
FACULTY & GUEST HOUSING ACADEMIC CENTER DESIGN BUILD
COMMUNITY CENTER STUDENT HOUSING
Arianne Gelardin Design-Build
DAVIS PARKLET First parklet for the city of Davis, CA Client and commercial property owner Charles Roe hired Rebar to design a parklet on E Street, the busy restaurant district in the collegiate city of Davis, California. As the first pilot parklet for the city, the Davis Parklet was designed to set a precedent for future streetscape enhancements in the city. A parklet extends public space from the sidewalk into a vehicle parking space, approved by the city with temporary permit (usually 2-3 years). As Designer and Project Manager, I developed the concept and construction documents, and worked closely with the fabrication team. Responding to the social habits of college-age visitors, the bleacher-style seating plays into the local vernacular: a casual space that allows for interaction and fluid movement between groups.
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Arianne Gelardin Construction Documents DAVIS PARKLET
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Arianne Gelardin Construction Documents DAVIS PARKLET
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Arianne Gelardin Community Engagement
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
ArtPlace DC Rebar Group Rebar was commissioned by the Washington DC Office of Planning (DCOP) to produce a series of designs, events and activities that engage the community in generating new ideas for pubic spaces along the Central 14th Street NW Corridor. The first event, 5x5, was part of a citywide public art exhibition funded by an ArtPlace grant. In facilitating the DCOP’s Small Area Plan, which aims at local economic development and community building along the Corridor, Rebar produced a full-scale street painting − a temporary mock up of a new plaza − along
Rebar + DC Office of Planning Present:
street furniture Design-Build community public art
ArtPlace
central 14th St NW
The DC Office of Planning has teamed up with Rebar, a public art + design studio, on a Central 14th Street artPlace project.
join us ! WEDNESDAY- july 11 - open studio 4 - 7 pm THURSDAY- july 12 - open studio 4 - 7 pm Friday- july 13 - open studio 4 - 7 pm saturday- july 14 - design-build! 10 am - 6 pm
4614 14th Street NW Collaborating with local business associations, we will unveil a family of furniture prototypes, which were designed based on feedback from a community charrette event back in April.
This workshop will provide the opportunity for community members to get their hands dirty and help place street furniture along the 14th Street Corridor. Come join us!
With the help of neighborhood residents and volunteers, we will assemble, paint, and install the street furniture and placemaking elements in Node 2.
OPEN kitc hhh n’n’ OPEN kitc n’ OPEN kitc
central 14th street culture crawl central 14th street culture crawl central 14th street culture crawl join us forusus afor sumamer evening of tasty bites bites representing the diverse join for asum sum merevening evening tasty bitesrepresenting representing thediverse diverse join mer ofoftasty the restaurants of Central 14th 14th Street NorthWest - A cultural restaurants Central 14thStreet Street NorthWest cultural restaurants ofofCentral NorthWest - -AAcultural accompanied by music, art, and more! celebration withwith neighbors accompanied music, art, andmore! more! celebration withneighbors neighbors accompanied bybymusic, art, and celebration
August 18th, 2012 2012 5 to August 18th, 2012 August 18th,
95 5pm to9 9pmpm to
14th Street NORTHWEST 14thStreet StreetNORTHWEST NORTHWEST 14th (between Shepherd and Spring) (between Shepherd andSpring) Spring) (between Shepherd and w w w . rwew b aw rw g. rr.oerubepab.raogrrggor/uodpuo.px w w o.raogr/gd/odxoax a
www.planning.dc.gov www.14uba.org www.rebargroup.org
with new planting beds and moveable street furniture. The subsequent event produced by Rebar was a street furniture design build workshop in a rented storefront. The third and final event, OPENkitch’n, for which I was Project Manager, was an art and culture crawl along the Corridor. OPENkitch’n brought together local business owners, musicians, artists and residents from around the District to demonstrate how the Arts can build community identity and support the local economy. These events were produced in collaboration with DCOP, the DC Arts and Humanities Commission, Independent Curator Justine Topfer and the local residents and business owners of Central 14th Street NW.
Arianne Gelardin Curatorial Collaboration
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Detour 2012 Design Renegade: Prototyping Public Space Rebar Group Detour 2012: Design Renegade directs the attention of the public to explore our “right to the city”. With Independent Curator Justine Topfer, Rebar co-curated this annual art and design exhibition in Hong Kong. Working with the Hong Kong Ambassadors of Design and local arts producer Aidan Li, we assembled a group of local and international artists and designers to act as agents of urban change, design renegades. Participanting artists and the
public were asked to seek niches and loopholes in the social and spatial fabric of the city and to exploit these loopholes for public benefit. Hong Kong Ambassador of Design’s board member Jehan Chu noted, “How far can we bend the rules without breaking them?” As a Designer and Marketing Associate at Rebar, I worked on the curatorial team for the international exhibition. I co-wrote the initial exhibition proposal with Justine Topfer, worked on the curatorial team, researched and selected participating artists, wrote and edited essays for both the exhibition catalog and marketing material.
Arianne Gelardin Editing + Publishing
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
RGB11 2011 RISD Graduate Exhibition Catalog In collaboration with graphic designer Lindsay Kinkade, the Graduate Student Alliance, advising faculty, and with the participation of the 176 graduate students of 2011, I was Chief Editor for this collectively authored exhibition catalog. With Lindsay and the produciton team, I conducted a series of zine-making and writing workshops. Each student was offered authority to establish the visual and textual content of their featured page. Students collectively created a distict, departmental zine to further self-define the varied interests within each discipline. In close collaboration with Lindsay, we designed a strong graphic template and rich selection of essays to tie the wide range of work together, the result of which is a publication representing both the creative process and the final thesis work of the graduating class. The publication, RGB11, received the honorable 2011 Type Directors Club Certificate of Typographic Excellence.
Arianne Gelardin Teaching DCUrbY Design Collective of the Urban Youth (DCUrbY) was an after school, placemaking program based at the West End Recreation Center in Providence, RI. Students were guided through mapping, drawing, and neighborhood adventure walk activities which helped them to develop critical thinking skills about their immediate community. The project is documented in the self-published zine, West Elmwood of the City of Providence, presented to Mayor Angel Taveras and the City Archives at Providence City Hall. I developed DCUrbY during a graduate architecture studio course at Rhode Island School of Design. The proposed project received funding through a Graduate Studies Grant and was realized in the Fall of 2011.
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Arianne Gelardin
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Visual Communication Drawings & Diagrams
Diagram Demographics of the Metro North Commuter Rail New Haven Line (right)
Wayfinding and Identity Branding Off the Grid signage proposal (middle right)
Concept Sketches SFPUC proposal (below left)
Flyer ArtPlace DC event (bottom right)
Rebar + DC Office of Planning Present:
street furniture Design-Build community public art
ArtPlace
central 14th St NW
The DC Office of Planning has teamed up with Rebar, a public art + design studio, on a Central 14th Street artPlace project.
join us ! WEDNESDAY- july 11 - open studio 4 - 7 pm THURSDAY- july 12 - open studio 4 - 7 pm Friday- july 13 - open studio 4 - 7 pm saturday- july 14 - design-build! 10 am - 6 pm
4614 14th Street NW
Arianne Gelardin Visual Communication
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Drawings & Diagrams Concept Model Sketches Circulation and elevation for Central Square Park Cambridge, MA (above and left) Manual Representation UC Berkeley Extension Landscape drafting course with Katherine Chang, 2008 (below)
Arianne Gelardin Software
Modeling and Drafting Fiber-optic Oyster Reef 3D Studio Max, Rhinoceros, Adobe CS (above and right) Tidal-Glyph (grading course) AutoCad, Illustrator, lasercut model (below)
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Arianne Gelardin Writing
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Excerpt from the exhibition catalog, Detour 2012: Design Renegade Why Public Space Alvin Yip (moderator) “Twitter is my city, my favorite city.” -Ai Weiwei, Foreign Policy Magazine, Sept-Oct 2012 Social media and mobile networks have shaken up social norms from all angles, particularly as new tools for social activism. However, there is much criticism that these lines of communication often hang on a weak thread: a former US national security adviser pushed for Twitter to be nominated for the Nobel Peace Prize, while a journalist at the Washington Post claims that the Twitter Revolution is “a bit of stagecraft cooked up by the government.” We are becoming untethered from a physical world whose vitality requires the immediacy of tactile experience. Public space can spur chance encounters, social exchange, and generate real human empathy in a way that mediated experience cannot. Is physical public space still relevant to city life? Join the artists of Design Renegade in a conversation that critiques and defends the necessity for public space. Art + Design in the Public Interest Marisa Yiu (moderator) In 1964, British designer Ken Garland wrote First Things First, a manifesto that dissuades artists and designers from working solely for the economic benefit of corporations and, instead, encourages them to dedicate their work to the public interest: We, the undersigned, are graphic designers, photographers, and students who have been brought up in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable means of using our talents...In common with an increasing number of the general public, we have reached a saturation point at which the high pitched scream of consumer selling is no more than sheer noise.
In April, 1999, Canadian magazine Adbusters revised the manifesto, adding, “There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social, and cultural crises demand our attention.”
Garland’s rallying call remains central to the goals of many artists and designers who continue today to retool and refine their craft for the benefit of the public. Through interventions, installations, performances, and visual provocations, the artists and designers of Design Renegade draw upon unsuspected opportunities to re-imagine public life in Hong Kong.
Tactical Urbanism and Participatory Design Kacey Wong (moderator) Design Renegade is a call to arms for the international design community and the people of Hong Kong to become agents of urban change. The exhibition uses tactics such as guerilla interventions, public workshops, open sourcing, and participatory performance to breathe new life into the ordinary. This quick and interactive process tests design ideas in lowrisk scenarios (cheap, temporary, deployable) which engage the public in open dialogues and debates, encouraging community stewardship and bridging public-private partnerships between artists, city governments, local business owners and residents. These tactics solicit feedback from a broad range of participants, informing longer-term planning strategies.
Arianne Gelardin Writing
\\\\\\\\\\\\\\\\ \ \ \ \ \ \ // ariannegelardin@gmail.com / / \\\\\\\\\\\ \ \ \ \ \ \ // 347 526 5126 / / \\\\\\\ \ \ \ \ \ \
Excerpt from I Sense Your Reality Introduction
I Sense Your Reality: Abstract
My 34-year-old brother is a little person. His wife and daughter also display an impressive menu of physical disabilities, from epilepsy to brittle bones. In contrast, I am average height and I have no major physical conditions that prevent me from living my day-to-day with relative ease. I can disguise myself in a sea of normal.
In a series of urban vignettes, constructed spaces appropriate the cues of blind navigation, orchestrating a sensorium that contextualizes the individual’s position within the larger urban system. An interruption of light, a momentary shift in kinetic rhythm, a re-mastered auditory composition − these sensory prompts introduce non-image based readings of a once-familiar place, suggesting another person’s experience. Empathy for others grows out of these quotidian moments.
I have grown up on the periphery of disability culture, always close but never within. From this proximity, I have learned to suppress naïve judgment of those who look or act different, and instead, embrace these encounters with an inquiring mind. Over the years, this attitude has expanded into a general obsession with different cultures and the interpersonal behavior between strangers. Identifying the beauty in physical differences was my initial attempt to articulate a certain passion for the human experience, in all its variations. In a statement I wrote in 2007 while applying to graduate school, I outlined the following goals: Design is activism. Create an alternate reality – possibly absurd – that heightens the senses and retunes one’s awareness to the subtle nuances of the social and physical world. Able design. Establish a radical movement in disability design. Undercut the stigma that designers have with ADA (Americans with Disabilities Act) regulations. Use these confines to generate original and extraordinary spaces. Design within constraints.
At the heart of this investigation is a desire to witness contrast, to adapt new methods of perception, and to transcend one’s subjective view of the world. My master’s thesis, I Sense Your Reality, displays different versions of a process: ideas are worked through both the written word and through visualization and design. The essays that follow reflect the research that I conducted on sensory perception, social dynamics, and urban space. I focused my studies on blindness, both a metaphor and a literal condition of social isolation. These studies planted the seeds that were unleashed onto a site design in the Bronx, New York. The subsequent pages include drawings, diagrams, and imagery that test these larger theories under specific socio-spatial conditions.
Fordham Station, the Bronx, New York A sub-grade railroad line cuts between two distinct urban conditions. On one side of the tracks lies a private university, like a fortified hermitage, introverted and shrouded from the exterior neighborhood. On the other side, a busy commercial district is visually inundated with neon text, brightly colored façades, and cluttered window displays. Twenty feet below, rail commuters traverse these contrasting worlds with a kinesthetic blindness. The mechanized, climate-controlled regularity of the train’s motion causes a drowsy, social paralysis of the passenger. Little is observed of the cities and towns that pass by. Fordham Station, in the Bronx, is a space through which different cultural groups travel, often at different times of day and at different elevations. When a train opens its doors to the station platform for 30 seconds, a man from Pelham Parkway reads The New York Times, while 20 feet overhead a young woman descends a city bus with a stroller, and nearly 120 feet above street level a college student shuffles through library stacks in search of a book about Saint Ignatius. To bleed the sensory qualities of one distinct cultural zone into another is to allow one to partially embody another person’s experience. Without didacticism, the sensory interventions in this master’s thesis suggest the unseen qualities that differentiate people’s lives. Such spaces call to arms the nonvisual senses, specifically the somatosensory organs in the reception of light through thermal fluctuations, vibration, and body movement.To comprehend people and culture in such abstraction requires a tactile consideration of human relations, a consideration that transcends the often removed intellectual processing of social dynamics. Space negotiates discrepancies of the human condition.